RARE re WICK HARD PSYCH =JERUSALEM= UK 1970 UNDERGROUND HAIRY ACID PROG HEAVY LP
$
47
$ 47
Sold For
Feb 28, 2016
Sold Date
Feb 25, 2016
Start Date
$ 10
Start price
14
Number Of Bids
USA
Country Of Seller
eBay
Auctioned at
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Description
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UK UNDERGROUND ROCK 1970
..
Jerusalem
Europe - Private Press
Long long gone, micro-repress from 20+ years ago ...analog sound quality, this is an otherwise expensive ($300+) British 1970 collectible ...wicked-hard psych from start to finish::::
As a whole, the album is part straight, raw and raunchy, rock and roll -- backed by moments of heavy Sabbath-esque gloom and doom blues. Youthful and uninitiated. Heavier than most and wonderfully dissonant.
Hailing from Salisbury, these five young gents, all appearing to be only a couple of years out of high school – Lynden Williams on vocals, Bob Cooke on ‘first’ guitar, Bill Hinde on ‘second’ guitar, Paul Dean on bass and Ray Sparrow on drums and percussion – were reputedly connected with Pussy in some way. In any case, Jerusalem’s publishing company was Pussy Music Ltd. Through some stroke of luck they attracted the enthused attention of Deep Purple’s Ian Gillan, who took them under his wing and into the studio. His words on the back of the record do justice to his youthful charges and their wild muse, and it’s apt to repeat them here :
“This is the first album by Jerusalem, a band which excites me very much, they are rough, raw and doomy with their own strong identity. As they are young and a bit green, they don’t follow many rules, so their material is almost crude – but still immensely powerful in content. I believe that, whenever possible, the work of writers and players in their formative stages should be recorded; before inhibition and self-consciousness set in, before fire and aggression die down, and while they are still absorbing influences and doing things which others might consider uncool. Most important though, before they might develop that self imposed rigidity which afflicts so many. I hope none of these things happen to Jerusalem, we’ll just have to wait and see, this album is just in case. I hope you like it as much as I do.”
Side one kicks off with the big-booted ‘Frustration’ [5:17], charging straight off the bat with clangy, grinding dual guitars riding out over a sharp drum beat and solid rolling bass. It’s fast, agitated but desolate heavy rock that sounds somewhat like an organless Deep Purple circa ‘In Rock’ crossed with Crushed Butler and early Stray, and that’s pretty much the kind of sound spread over this whole album. There’s a nice’n’nasty jam-out in the middle as drums and guitar hold the riffy beat letting the bass and lead guitar free to wander, before bringing it down for some vocals& guitar sparring. His lady love is bringing him down too and just can’t understand him, she’s mean and lies... gimmesome relief! ‘Cause “the only time you’ll be happy is when you see me die”, and the only salve in the mean-time is some more scorching rock.
‘Hooded Eagle’ [4:50] is another heavy stomper, Williams’ vocals hoarse as hell as he screams out the lyrics, still desolate and anguished but somehow not depressing in delivery, and more evidence that no matter how bad things are getting, good rock can keep you patched together enough to see it through. And your worst times can make great rock poetry, with lines like “alright this martyr screamed / you’ve nailed me to my bed / imprisoned me to my dreams / locked inside my head”, and “the panther lifts his blackened paw / and stalks the countryside / searching for the thing to die / then starts the midnight ride” howled out fiercly.
‘I See The Light’ [3:53] starts out with a slow bluesy plod, gutsy drawling vocals slithering out amongst the stop-start riffery, and here you’d think for sure it’s gonna stay like this, like most heavy bands of this era did for at least one track, but youth is defiant, and it soon peels off seamlessly into a wicked galloping dual-guitar riff that’s almost Three Man Army kinda stuff, though not really conventionally heavy as far as that the guitars are driving clean and there’s no chords, but regardless, it boogies damn hard and doesn’t let up with it’s insistent beat and tight-as-a-fishes-ass driving unity, until Williams moans “I don’t wanna kill no one...” and it all crashes to a close.
‘Murderer’s Lament’ [3:40] opens with crashing riffs before becoming something more organically mellow and melodic like you’d expect from a lament, nothing brilliant but very nice all the same thankyou, and later alternating with more big chords and fiddly bits. It’s a pretty dark piece which slips by if you’re not paying attention to the lyrics, being a sick kind of love song as well as the murdering bit... you get the idea when Williams sings “when the night comes I must go / loneliness has become my foe / must find that woman who is best / lay her first then break her neck”. You kinda like to think this is one of those fictional character pieces rather than an example of the band’s view of women, to say the least! But, as a character piece it’s suitably creepy-yet-innocent in a similar way to Comus, not to say the music is particularly comparable.
‘When The Wolf Sits’ [4:49] is a dumb, simple riff-slammer that’s more kinda like Second Life/Tiger B. Smith, with big fat chords, wailing guitar, punch-drunk bass and straight-ahead solid drums all strutting in your face like some massive guy you just don’t want to mess with. And, it’s yet another song about death and doom, and a bit of carnal lovin’ while we’re at it.
‘Midnight Steamer’ [4:43] opens side two with more strident up-against-the-walls-mother-truckers riffery, and do you think with a title like ‘Midnight Steamer’ and such an up-beat swing to the hard-ass music they might be on about something happy for a change? I mean, they are telling us “come on in, the water’s fine”, right? Yeah, but this steamer seems to be the boat that takes your sorry skin to Hades, “three hooded Sirens are your crew, your captain is a skeleton”... We’re left in little doubt by lines like “in the dawn of the evening / people make love to make death / your coffin is on a cabin shelf / your journey is very long / just come on, just come on”... At least they stop short of explicitly suggesting that you top yourself, but whoever’s writing the lyrics sounds like he ain’t too happy with life – but they look like such nice, smiling, happy young lads on the record sleeve! Long-haired, yes, but you could take them around to have tea and scones with your gran by the looks of ‘em.
‘Primitive Man’ [5:45] is one of the best and rawest tracks on the album, lots of wicked and varied heavy riffs and changes around a more straight-forward main riff, with absolutely grinding verses, Williams really belting it out and ruining his vocal cords in the process. The only complaint is also a factor on some other tracks, in that some of the heaviest and rawest guitar parts are placed a little low in the mix, slightly subduing what was obviously even more of a snarling beast as actually played live or in the studio. But, a small complaint, as the music still rocks like a gravel truck with fairly Sabbatherian heaviness in some parts, and the quality shines through beyond mere sonic engineering misjudgements. Lyrically, it’s a granite-carved ode to our distant ancestors and a better life, and at last we get some positivity...
‘Beyond The Grave’ [6:07] starts out like a doomy prog piece, vocals almost Peter Hammill here over an exotic moody backing not unlike debut-era East Of Eden in part, before dropping into gear with another familiar locked-groove riff ride to hell that could almost be from that classic first East Of Eden album if you were to whack a bit of eastern-melodicised sax over the top and turn down the heavy rock quotient a bit. This swings between the two extremes over the rest of the song, though the vocals become less Hammill-like nearer the end.
‘She Came Like A Bat From Hell’ [5:34] sounds, I guess, like what early AC/DC might have sounded like if they were a UK band from a couple of years earlier (ie. 1972), still mighty boozy and swinging a mean punch. In the vocal bits Williams sounds like he’s shredding every remaining functioning particle of his vocal cords just to get it over with as raucously as he can, and though it’s not the most raucous track on the album, it still swings on hard and nasty in the tradition of the previous tracks, and there’s even a snatch of ‘Highway Chile’ stuck in there every now and then, fitting right in to the party rather than sounding like a cheap rip-off for the sake of it.
Frustration
Hooded Eagle
I See The Light
Murderer's Lament
When The Wolf Sits
Midnight Steamer Primitive Man
Beyond The Grave
She Came Like A Bat From Hell
CONDITION: The cover: rated: M- TOP COPY remains with a fresh appearance, no delete marks, no split seams, no bends, and no writing ... VERY collection worthy rarity ...
The vinyl: Rated: M- TOP COPY Clean and glossy with very enjoyable CLEAN audio ...NO distracting surface problems ... both labels are clean
A cool addition to anyone's music library!
SEE: SELLERS OTher items for similar cool sounds for "head" people...
EFFICIENT/CAREFUL GRADING
All imperfections are noted both cover & record
NOTE: All Items backed by money back guarantee! IF you have a problem PLEASE let us solve for you BEFORE leaving ANY negative feedback. Thanks! GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks M- Carefully used, looks clean, plays clean, shiny gloss, no marks EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, clean VG+ a bit more scuff or markls still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps ALL PAYMENTS SHOULD BE MADE WITHIN 5 DAYS Of AUCTIONS END BIDDERS PLEASE = Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
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